Critical Exchange

Contents: Carol Adlam/Juliet Simpson: Introduction. Critical Exchanges: Artwriting in Eighteenth- and Nineteenth-Century Europe - Andy Hamilton: Criticism, Connoisseurship and Appreciation - Katerina Deligiorgi: The Convergence of Ethics and Aesthetics: Schiller's Concept of the 'Naive' and Objects of Distant Antiquity - Richard Wrigley: Sense of Place in Eighteenth-Century Salon Criticism - Juliet Simpson: Relative Values? Ideas of 'Real' and 'Symbolic' Worth in Fin-de-Siècle French Art Criticism - Aaron J. Cohen: Profession or Politics? Modernism and the Rhetoric of Art Criticism in Late Imperial Russia, 1898-1917 - Claudia Mattos: The Torchlight Visit: Guiding the Eye through Late Eighteenth and Early Nineteenth-Century Antique Sculpture Galleries - Debbie Challis: Charles Newton and the British Museum: Articulating a Science of Ancient Art in the Nineteenth Century - Meaghan Clarke: Translating nudus: Modernity and the British Academy's New Clothes - Marijke Jonker: La Font de Saint-Yenne: Jansenism and the Beginnings of Independent Art Criticism in France - Alexey Makhrov: Defining Art Criticism in Nineteenth-Century Russia: Vladimir Stasov as Independent Critic - Elizabeth Kridl Valkenier: Ilia Repin and His Critics - Antonia Napp: Johann Buhle's Zhurnal iziashchnykh iskusstv: The German Source of Russian Art Criticism - Rosalind P. Blakesley: Emile Zola's Art Criticism in Russia - Ilia Dorontchenkov: Between Isolation and Drang nach Westen: Russian Criticism and Modern Western Art around 1900 - Emma Minns: 'New, Strange, and Beautiful to English Eyes': British Reviews of Representations of Russia at the Beginning of the Twentieth Century - Yves Landerouin: Ruskin, Whistler, Wilde, Proust: The Dispute about Creative Criticism - Helen Bridge: Rilke's Neue Gedichte and the Visual Arts.

The Editors: Carol Adlam is Senior Lecturer in Russian at the University of Exeter. She is a specialist in nineteenth-century Russian art history, and late twentieth-century Russian literature and critical theory.
Juliet Simpson is Professor of Art History and Visual Culture at the School of Arts and Media, Buckinghamshire New University. She is a specialist in nineteenth-century and early twentieth-century French art history, visual culture and art criticism.

«With its Franco-Russian polarity, this adventurous collection opens perspectives in nineteenth-century art criticism, provoking challenging ideas about nineteenth-century art writing across languages, economics and polemic.» (Richard Thomson, Watson Gordon Professor of Fine Art, University of Edinburgh)